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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, May 11, 2013
Bruno Ferrandis, conductor; Olga Kern, piano

Pianist Olga Kern

A PERFECT 10 FOR THE TENTH

by Steve Osborn
Saturday, May 11, 2013

The Santa Rosa Symphony capped off its first year in the resplendent Green Music Center with an impassioned performance of Shostakovich's Tenth Symphony, widely regarded as his masterpiece in the genre. Every section of the orchestra, from the lowest bass to the most stratospheric piccolo, played to the max, producing a lush, dense sound that filled the GMC's nearly full Weill Hall almost to bursting point.

The Shostakovich was a highlight of the season, matching or exceeding memorable performances earlier in the year of Berlioz's "Symphonie Fantastique," Mahler's Symphony No. 1, and Brahms' Symphony No. 3. In one sense, it was better than all of those, because--despite being 60 years old--it was probably new to most of the audience and made a strong case for the glories of modern repertoire.

Conductor Bruno Ferrandis chose an all-Russian program to build up to the Shostakovich. The concert opened with the all-too-brief prelude to "Khovanshchina," by Mussorgsky. Subtitled "Dawn on the Moscow River," this intensely lyrical work opens with a hushed figure in the violas that moves through the other strings and migrates to the clarinet, oboe and English horn. The playing was both ethereal and soothing, in keeping with the music's program. Sadly, it was over all too soon, ending up as more of a song than a full orchestral piece.

The full-blown orchestra arrived with the next number, Rachmaninoff's oft-performed Piano Concerto No. 2, this time with Russian pianist Olga Kern, winner of the 2001 Van Cliburn Competition. She entered from stage right in a floor-length red dress with a semi-open back, but her subsequent performance never quite matched the implicit fire of her bodily decor. She sat stiffly on the piano bench, her shoulders slightly stooped, her eyes fixated on the keyboard. In a work of intense Romanticism, she seemed to be more of an observer than a participant.

Kern's playing in the first movement lacked both projection and fluidity. She was often buried by the orchestra, and her phrases were disconnected. Instead of flowing into each other, they seemed isolated--fragments instead of a complete entity. The second movement was better, but again the piano didn't ring out, and the playing lacked fire. It was only in the third, with its unflaggingly popular melody, that Kern finally came to life, articulating each recurrence of the theme with authority and technical dazzle.

The relative disappointment of the Rachmaninoff was soon forgotten in the magnificent opening bars of the Shostakovich. Using the simplest of means--the first three notes of the minor scale--Shostakovich crafts a riveting and suspenseful tale, as the three-note figure begins in the cellos and moves throughout the orchestra, pausing briefly for a gorgeous clarinet solo, ably played here by Roy Zajac. The inexorable forward motion continues, leading to an arresting fortissimo section followed by a long decrescendo.

The playing throughout the movement was exemplary, nowhere more so than in a luscious post-fortissimo clarinet duet between Zajac and his colleague Mark Wardlaw. The duet led into an obsessive waltz highlighted by crisp unanimity from the strings, and then into a haunting conclusion for piccolo and drums.

If the first movement displayed the Symphony's expressive capabilities, the second showed off their ability to play at top speed with an unflagging beat. Ferrandis launched them into a relentless perpetual motion at top volume, and they never let up. The effect was both dazzling and intense.

Speed gave way to Shostakovich's elegantly simple phrases in the third movement, marked Allegretto. Sounding much like a string quartet, the fiddles and their kin acted as a perfect foil for beguiling solos from French hornist Alex Camphouse and English hornist Bennie Cottone. Despite the relatively slow tempo, the forward motion was compelling, thanks to Ferrandis's steady beat.

Both Shostakovich and the Symphony saved the best for last, with a thoroughly convincing reading of the final movement. The pace was again furious, and the pulse evident at all times. Ferrandis exerted great dynamic control, easing into pianissimos with as much authority as fortissimos. The many solos from woodwinds and brass were all well played, making the work a virtual concerto for orchestra. When it came, the ending was sheer drama. It was a great way to end the season, and it bodes well for the season to come.

[Reprinted by permission of San Francisco Classical Voice.]